catalogue 
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Catalogue 
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FTER  looking  over  a  collection  of 
Rembra,ndt's  prints  one  is  always 
struck  afresh,  no  matter  how  well 
one  may  know  them,  by  the  depth  and 
force  of  the  effect  they  produce.  And  the 
reason  for  this  is  not  very  plain.  It  is  not 
quite  clear,  on  the  face  of  it,  why  a  view  of 
a  thatched  cottage  and  a  distant  line  of  dunes 
or  the  portrait  of  a  quiet  contemplative  sit- 
ter should  move  one  so  deeply. 

Turn  where  one  will  in  Eembrandt's 
etched  work — and  its  range  extends  over 
almost  every  kind  of  subject  and  shows  a 
wide  variety  of  technique— there  is  always 
the  same  grip,  the  same  depth  and  earnest- 
ness. 

One  explanation  of  the  strength  with 
which  Rembrandt  impresses  us  is  offered  by 
the  following  paragraph  from  Paul  Kristel- 
ler : 

"  Above  all  he  seems  to  have  come  nearer 
to  the  material  appearance  of  things  and  to 
have  seen  deeper  into  the  human  heart  than 
any  of  his  predecessors.  This  is  true  to  so 
high  a  degree  that  the  beholder  is  impressed 
as  though  he  stood  before  the  objects  them- 
selves instead  of  only  a  representation  of 
them.  No  other  artist  has  ever  been  able  so 
fully  to  engross  himself  in  his  subject  and  so 
completely  to  lose  the  consciousness  of  his 
own  personality,  and  by  so  doing  to  give  a 
purer  image  of  his  own  great  spirit. 

"  The  beholder  is  affected  in  such  a  way 
that  images,  drawn  from  his  own  memory, 
are  called  out  of  the  depths  of  his  heart  and 

3 


appear  visibly  to  him.  The  imagination  of 
the  beholder  thus  confuses  the  memory  of 
realities  and  experiences  of  his  own  with  the 
picture  before  him.  And  real  above  all  seems 
that  part  of  the  artist's  personality  which  has 
passed  over  into  the  picture. 

"  It  thus  becomes  possible  for  the  master- 
piece to  form  a  bridge  over  the  gulf  which 
separates  the  realm  of  the  real  from  the 
ideal." 

It  is  this  wonderful  reality,  force,  and  ser- 
iousness, applied  to  so  wide  a  range  of  sub- 
jects, and  joined  to  a  sense  of  pure  beauty 
more  inspired  than  that  given  to  any  other 
artist,  which  makes  Rembrandt  beyond  all 
comparison  the  greatest  etcher  that  ever 
lived. 

David  Keppel. 

November,  1909. 


4 


CATALOGUE 


1  Rembrandt  With  a  Scarf,  (Bartsch  No.  17) 

Dated  1633. 

2  Rembrandt  Leaning  on  a  Stone  Sill.      (Bartscli  No.  21) 

Dated  1639.  Impression  from  the  Hubert  collection. 
It  has  a  slight  wash  of  water-color  along  the  margin 
at  the  right. 

"Rembrandt  has  given  ns  his  own  portrait  this  year  in  a  splen- 
did etching  which  is  perhaps  the  best  known  of  all  his  portraits 
of  himself.  .  .  .  The  thoughtful  brow  is  already  fnrr-owed 
and  the  habit  of  a  fixed  and  searching  look  has  drawn  the  skin 
down  above  the  eyelids,  but  in  spite  of  such  signs  that  youth  is 
departing  the  iitmost  freshness  of  mind  and  body  is  expressed 
in  this  face,  which  is  adorned  with  a  mustache  and  a  little, 
pointed  beard  and  is  framed  by  long,  luxuriant  locks  of  hair 
which  show  no  signs  of  thinning.  This  is  tlie  face  upon  which 
most  modern  representations  of  Rembrandt's  person  are 
founded.  It  served,  for  instance,  for  the  statue  of  the 
master  which  was  erected  in  Amsterdam  in  1852." 

Knackfuss:  Rembrandt,  page  75. 

Kindly  lent  for  the  exhibition. 

3  Rembrandt  in  an  OvaL  (Bartsch  No.  23) 

Dated  1644.  Second  state  of  four.  From  the  Pal- 
mer and  Morrison  collections.  Up  to  the  time  of 
the  Hubert  sale  last  summer  the  first  state  of  this 
plate  had  the  distinction  of  having  brought  the 
highest  price  ever  paid  for  a  print.  At  the  Holford 
sale  (London,  1893)  it  was  bought  by  Lord  Roths- 
child for  two  thousand  pounds  sterling. 

4  The  Same* 

The  third  state,  the  oval  has  been  made  regular. 

5  Abraham  Entertaining  the  Three  Angels. 

(Bartsch  No.  29) 

Dated  1656.  The  only  state.  This  impression  bears 
at  the  back  a  blue  stamp  representing  an  owl.  We 
do  not  know  the  name  of  the  collector  who  used  this 
stamp,  but  the  prints  bearing  it  which  have  passed 
through  our  hands  have,  without  exception,  been  of 
the  finest  quality. 

5 


6  Abraham  Sending  Away  Hagar.  (Bartsch  No.  30) 

Dated  1637.    The  only  state. 

"All  the  qualities  of  Rembrandt  are  united  to  a  high  degree  in 
this  print :  beauty  of  expression,  arrangement,  delicacy,  rich- 
ness of  detail,  and  chiaroscuro."  Charles  Blanc. 
"  This  is  one  of  the  most  perfectly  delicate  of  all  Rembrandt's 
etchings.  The  sureness  of  the  faint,  thin  lines  on  which  the 
expression  of  the  face  chiefly  depends,  the  masterly  reservation 
of  reflections  and  half-lights  in  open  shading,  the  opportune 
omission  of  labor  where  omission  was  better  than  toil,  justify 
our  admiration." 

P.  G.  Hamerton  :  Etchings  and  Etchers,  pp.  82-83. 

7  Abraham^s  Sacrifice.  (Bartsch  No.  35) 

Dated  1655.    The  only  state. 

' '  By  its  grandeur  and  originality  of  invention  and  composition 
it  may  well  take  rank  as  one  of  Rembrandt's  finest  plates." 

' '  Independently  of  its  very  fine  composition,  and  the  magnifi- 
cent style  in  the  drawing  of  Abraham  and  the  Angel,  this  plate 
maybe  easily  recommended  as  a  fine  example  of  the  free  etched 
line  which  is  everywhere  perfectly  frank  and  full  of  vital 
energy."  P.  G.  Hamerton, 

8  The  Same. 

Another  impression. 

9  Jacob  Lamenting  the  Supposed  Death  of  Joseph. 

(Bartsch  No.  38) 

Assumed  date  1633.  The  only  state.  Early  impres- 
sion before  the  plate  was  retouched.  From  the  col- 
lection of  Baron  Von  Lanna. 

"  Ce  morceau,  quoique  petit,  est  estime  un  des  meilleurs  de  ce 
maitre."  Bartsch. 

10  The  Triumph  of  Mordecai.  (Bartsch  No.  40) 

Assumed  date  1640.    The  only  state. 

11  The  Same. 

Another  impression  somewhat  warmer  in  tone. 

12  King  David  at  Prayer.  (Bartsch  No.  U) 

Dated  1652.  "  Nous  I'avons  toujours  regard^  comme 
un  des  meilleurs."  Charles  Blanc. 

13  Tobit  Blind.  (Bartsch  No.  42) 

Dated  1651.  First  state,  on  Japan  paper.  The 
plate  is  full  of  tone  obtained  by  the  use  of  sulphur. 
This  impression  bears  in  two  places  the  initials  of 
William  Esdaile,  and  is  also  a  duplicate  from  the 
British  Museum.  In  this  state  the  plate  is  of  the 
greatest  rarity. 

14  The  Same. 

The  second  state.    The  tone  obtained  by  the  use  of 
sulphur  has  been  effaced  from  the  plate. 
6 


15  Angels  Announcing  the  Birth  of  Christ. 

(Bartseh  No.  44) 

Dated  1634.  Impression  from  the  collection  of  Sir 
John  Day.  The  effect  of  this  print  almost  entirely 
depends  upon  the  clearness  of  the  nocturne  land- 
scape in  the  distance  to  the  left. 

"  These  great  scenes  from  the  Bible,  no  one  has  conceived 
them  better  than  Rembrandt,  and  no  one  felt  more  keenly 
their  touching  and  simple  poetry.  The  Apparition  of  the  Angels 
to  the  Shepherds  has  been  the  subject  of  many  pictures ;  but  how 
often  does  oue  rest  indifferent  to  the  representations  of  this 
marvelous  scene!  Rembrandt  finds Jiere  occasion  to, show  the 
two  most  astounding  sides  of  his  genius ;  expression  and  chiaros- 
curo." Charles  Blanc. 


]  6  The  Same. 

Another  impression. 

"The  effect  of  this  superb  print  is  wonderful.  Fine  impres- 
sions of  it  are  rare."  Bartseh. 

17  The  Nativity.  (Bartseh  No.  45) 

Assumed  date  1654^. 


18  The  Adoration  of  the  Shepherds.  (Bartseh  No.  46) 

Assumed  date  1652. 


19  The  Presentation,  in  Rembrandt's  Dark  Manner. 

(Bartseh  No.  50) 

The  only  state.  From  the  collection  of  John  Web- 
ster and  Alfred  Hubert. 

Assumed  date  1654.    This  splendid  print  is  unfor- 
tunately of  the  utmost  rarity. 

"The  brilliancy  of  the  sacerdotal  vestments  is  rendered  here 
with  a  power  so  extraordinary  that  the  plate  is  a  great  tech- 
nical feat.  The  lines  are  coarse  and  rude,  but  so  entirely  syn- 
thetic and  intelligent  in  their  arrangement,  that  the  splendor 
of  gold,  and  jewels,  and  embroidery,  is  fully  suggested  to  the 
imagination.  The  high  priest  who  is  standing,  is  one  of  the 
most  imposing  figures  amongst  all  the  creations  of  Rembrandt, 
who  had  a  keen  appreciation  of  sacerdotal  dignity  and  mag- 
nificence." 

P.  G.  Hamerton :  Etchings  and  Etchers,  page  84. 


20  Flight  into  Egypt,  the  Holy  Family  Crossing  a  Rill. 

(Bartseh  No.  55) 

Dated  1654.  The  only  state.  Early  impression  on 
white  paper. 

"La  Vierge,  appuyant  sa  main  sur  sa  selle,  penche  la  tete 
d'une  air  triste;  la  precaution  du  vieillard  qui  sond  I'eau  avec 
son  baton,  est  exprimee  d'une  maniere  saisissante ;  I'ane  est 
un  petit  chef-d'oeuvre  de  dessin  et  de  gravure.  Si  cette  petite 
estamp  etait  rare,  on  la  paierait  des  prix  enormes,  tant  elle 
est  charmante. "  Charles  Blanc. 


7 


1  Flight  into  Egypt,  in  the  Manner  of  Elsheimer . 

(Bartsch  No.  5G) 

Assumed  date  1653.  This  copper  had  originally 
been  engraved  by  Hercules  Seghers  with  the  repre- 
sentation of  Tobit  and  the  Angel.  Only  two  im- 
pressions are  known  of  the  print  in  this  state.  The 
plate  was  then  taken  by  Rembrandt,  the  figures  of 
Tobit  and  the  Angel  effaced,  and  the  figures  of  St. 
J oseph  and  the  Virgin  introduced  in  their  places. 
The  trees  at  the  right  and  the  foreground,  as  well  as 
the  figures,  are  Rembrandt's  work.  The  remainder 
of  the  plate  is  substantially  the  way  Hercules  Se- 
ghers left  it. 

This  gives  the  plate  a  peculiar  interest,  because 
Seghers  is  the  only  artist  who  can  be  pointed  to  as 
being  a  forerunner  of  Rembrandt  in  landscape 
etching. 

2  The  Rest  in  Egypt,   In  Outline.  (Bartsch  No.  58) 

The  only  state. 

Dated  1645.  This  impression  bears  the  stamps  of 
two  collections,  neither  of  which  is  known  to  Fagan. 
The  impressions  of  this  charming  little  print  are 
always  very  faint  and  delicate. 

Reproduced  in  Charles  Blanc's  catalogue  of  Rem- 
brandt's Etchings. 

3  The  Return  from  Jerusalem.  (Bartsch  No.  60) 

Dated  1654. 

4  Christ  Disputing  with  the  Doctors.        (Bartsch  No.  65) 

Dated  1652.  The  extremely  rare  first  state,  before 
the  plate  was  disfigured  by  foul  biting  at  the  top, 
printed  on  paper  watermarked  with  the  Fool's 
Bauble. 

"Jesus  Disputing  with  the  Doctors;  The  Larger  Plate 
is  a  masterly  sketch  like  The  Tobit,  in  which  the  imaginative 
conception  of  the  scene  far  predominates  over  simple  handi- 
craft."    P.  Gr.  Hamerton:  Etchings  of  Rembrandt,  page  46. 

5  Christ  Preaching.  (Bartsch  No.  67) 

Assumed  date  1635.  The  first  state  of  three,  before 
all  retouches,  and  full  of  burr.  On  paper  water- 
marked with  the  Fool's  Bauble. 

"Though  less  important  than  tlie  Hundred  Guilder  Print, 
The  Christ  Preaching  is  certainly  as  strong  as,  if  not  stronger 
than,  its  great  companion  in  its  drawing  of  human  character. 
The  profound  attention  of  the  assembly,  the  marvelous  expres- 
sions of  their  faces  as  they  listen  to  the  words  of  Christ,  make 
an  impression  upon  us  that  cannot  be  foi-gotten,  and  we  are  as 
if  we  ourselves  were  there  listening  to  what  the  great  Preacher 
has  to  say ."  Atherton  Curtis. 

8 


26  Christ  and  the  Tribute  Money.  (Bartsch  No.  68) 

Assumed  date  1635.  The  first  state  of  three,  before 
the  shading  on  the  turban  of  the  foremost  figure. 

27  The  Raising  of  Lazarus.    The  smaller  plate. 

(Bartsch  No.  72) 

Dated  1642.  The  first  state  of  three,  with  three  lit- 
tle strokes  behind  the  head  of  Lazarus. 

28  Christ  Healing  the  Sick.  (Bartsch  No.  74) 

Called  the    Hundred  Guilder  Piece." 

Assumed  date  1649.    Second  state  of  four. 

"Of  the  religious  pieces  the  plate  of  Christ  Healing  the  Sick, 
called  the  'Hundi'ed  Guilder  Print,'  stands  out  by  itself.  Not 
only  is  this  Rembrandt's  etched  masterpiece  but  it  is  one  of 
the  greatest  works  of  art  that  the  world  has  ever  seen.  To  say 
that  it  has  never  been  surpassed  in  etching  would  not  do  it  jus- 
tice. It  has  never  been  surpassed  in  any  form  of  art,  and  is 
not  likely  to  be.  It  holds  its  own  beside  the  great  masterpieces 
of  painting  in  the  galleries  of  Europe,  and  differs  from  them 
only  in  the  absence  of  color.  The  groiiping  of  the  figures  and 
the  distribution  of  light  and  shade  make  a  composition  of 
unsurpassed  beauty.  Here  we  may  see  Rembrandt  at  his  best 
as  a  draftsman.  Siich  drawings  as  this,  without  a  hesitating 
line  from  beginning  to  end,  is  no  accident.  We  see  that  the 
artist  could  draw,  when  he  wanted  to,  in  a  manner  so  sure  as 
to  leave  his  work  wholly  above  criticism.  The  draperies, 
whether  sketched  in  in  a  few  lines  or  worked  out  in  more  minute 
care,  are  truly  wonderful,  while  the  expression  of  the  faces  are 
rendered  in  a  way  that  Rembrandt,  great  as  he  was  in  charac- 
ter drawing,  never  equaled  in  etching  save  in  one  instance. 
The  face  of  Christ  is  one  of  the  best  that  he  has  given  us,  but 
it  must  be  seen  only  in  the  most  beautiful  impressions  of  the 
plate  to  be  appreciated.  The  appealing  looks  of  the  sick  and 
crippled,  and  the  contrasts  between  the  group  of  Christ's  fol- 
lowers at  his  right  hand  and  the  group  of  cold,  unmoved  faces 
beside  them,  are  sources  of  endless  study." 

Atherton  Curtis. 

Kindly  lent  for  the  exhibition. 

29  Christ  in  the  Garden  of  Olives.  (Bartsch  No.  75) 

From  the  Alfred  Hubert  collection,  and  also  from 
another  collection  not  described  by  Fagan.  One  of 
the  finest  impressions  known. 

"  Ici  toutes  les  douleurs  se  reunissent  pour  accabler  son  ame 
et  la  plonger  dans  un  ocean  d'amertume.  .  .  .  Quelle  pro- 
fondeur  de  sentiment !  Quelle  poesie  dans  la  mise  en  scene  de 
ce  drame  auguste,  et  quelle  grandeur  dans  un  si  petit  cadre!" 

Charles  Blanc. 

30  The  Same. 

Another  impression,  on  Japan  paper,  not  so  fine  as 
the  preceding. 


31  The  Entombment. 

Assumed  date  1652. 

9 


(Bartsch  No.  86) 


32  Christ  at  Emmaus.  (Bartsch  No.  87) 

Dated  1634.  The  extremely  rare  first  state  on  Japan 
paper. 

"A  number  of  masterly  works  in  etching  are  dated  1654. 
Above  all  there  is  the  print  doubly  attractive  on  account  of  the 
charming  simplicity  of  the  design,  which  repeats  with  new 
artistic  beauty  the  subject,  which  the  master  already  so  often 
handled,  of  the  manifestation  of  The  Redeemer  at  Kmmaus.'" 
Kuackfuss :  lieiubrandt,  page  128. 

33  The  Same, 

Impression  of  the  second  state,  from  the  Artaria 
eollectiou.  The  outline  of  St.  Peter's  hat  has  been 
completed. 


34  Christ  at  Em maus.  The  smaller  plate.    (Bartseh  No.  88) 
The  only  state.    From  the  Esdaile  collection. 


35  Christ  Appears  in  the  Midst  of  His  Disciples. 

(Bartsch  No.  89) 

On  Japan  paper.    From  the  collections  of  Mariette 
1682,  Artaria  and  Alfred  Hubert.    Probably  the 
finest  impression  in  existence. 
The  print  is  extremely  rare. 


36  Peter  and  John  at  the  Beautiful  Gate  of  the  Temple. 

(Bartsch  No.  94) 

Second  state  of  five. 

37  St.  Peter.  (Bartsch  No.  96) 

Impressions  of  this  print,  like  the  "Rest  in  Egypt"' 
(No.  22  of  the  present  exhibition),  are  always  very 
faint  and  delicate. 


38  The  Death  of  the  Virgin.  (Bartsch  No.  99) 

Very  early  impression  of  the  second  state  of  three, 
with  burr  upon  the  arm  of  the  chair. 


39  St.  Jerome  Kneeling.  (Bartsch  No.  102) 

From  the  collection  of  Dr.  Augustus  Strater  of  Aix- 
la-Chapelle. 

40  St.  Jerome  Writing  at  the  Foot  of  a  Tree. 

(Bartsch  No.  103) 

Dated  1648. 


41  The  Same. 

A  second  impression  on  paper  watermarked  with 
the  ''Head  of  Folly."  From  the  collection  of  Dr. 
Augustus  Strater. 


10 


42  SU  Jerome  in  an  Italian  Landscape*      (Bartsch  No.  104) 

Assumed  date  1653.  Printed  on  the  curious  grayish 
paper  which  Rembrandt  used  for  many  of  the  finest 
impressions  of  this  plate.  This  impression  comes 
from  the  collection  of  Robert  Dighton,  and  is  also  a 
duplicate  from  the  British  Museum.  Dighton  has 
the  questionable  distinction  of  being  the  only  man 
who  ever  stole  prints  from  the  British  Museum.  He 
was  in  the  habit  of  going  over  the  Cracherode  collec- 
tion of  Rembrandts  at  the  Museum  and  usually  car- 
ried two  or  three  away  in  a  portfolio  or  in  his  pocket. 
Mr.  Samuel  Woodburn,  an  art  dealer,  and  the 
Chevalier  de  Claussin  had  reason  to  suspect  the 
honesty  of  Dighton,  and  through  their  efforts  most 
of  the  stolen  prints,  this  one  unquestionably  among 
the  number,  were  eventually  recovered  by  the 
Museum.  These  events  occurred  between  1794  and 
1806. 

43  The  Same. 

Another  impression  printed  on  white  paper  and 
watermarked  with  the  "  Head  of  Folly." 
"Rembrandt  a  traite  biea  des  fois  ee  sujet  de  Saint  Jerome, 
mais  jamais  avec  plus  de  grandeur  ni  d'nue  faqon  plus 
heureuse."  Charles  Blanc. 

44  St.  Francis  Kneeling  Before  a  Crticifix. 

(Bartsch  No.  107) 
From  collections  of  the  Earl  of  Aylesford  and  Alfred 
Hubert. 

45  The  Star  of  the  Kings.  (Bartsch  No.  113) 

x\ssumed  date  1652.    The  only  state. 

46  The  Spanish  Gypsy.  (Bartsch  No.  120) 

Assumed  date  1642.  Duplicate  from  the  British 
Museum.  This  is  one  of  the  rarest,  as  it  is  one  of 
the  most  charming  of  Rembrandt's  smaller  plates. 

47  The  Goldsmith.  (Bartsch  No.  123) 

Dated  1655.  The  first  state  before  the  additional 
vertical  shading  in  the  ceiling,  on  Japan  paper. 

48  The  Pancake  Woman.  (Bartsch  No.  124) 

,  The  second  state  of  four.  The  first  state  is  of  the 
utmost  rarity.  From  the  collection  of  Alfred 
Hubert. 

49  The  Synagogue.  (Bartsch  No.  126) 

Dated  1648.  The  second  state  of  three,  before  the 
retouch. 


50  Peasant  with  Wife  and  Child.  (Bartsch  No.  131) 

From  the  collection  of  Alfred  Hubert. 
11 


51  The  "Wandering  Peasants.  (Bartsch  No.  144) 

From  the  collection  of  Marsden  J.  Perry. 


52  The  Same, 

Another  impression,  from  the  collection  of  the  Earl 
of  Aylesford,  and  also  a  duplicate  from  the  British 
Museum. 

53  The  Shell.  (BartSch  No.  159) 

Dated  1650.  Extremely  rare.  From  the  Alexander 
Beugo  collection. 

"  One  day  (in  1650)  he  sketches,  in  Ms  roughest  and  most 
rapid  manner  Christ  in  the  Midst  of  His  Discijyles  and  the  next 
he  sets  himself  to  imitate,  with  the  utmost  patience,  a  beautiful 
sea-shell  of  a  pattern  presenting  dark  irregular  reticulations  ; 
the  plate  is  of  the  greatest  interest  as  Rembrandt's  most 
decided  attempt  at  pure  and  simple  imitation  .  .  .  and  it  is 
curious  to  see  the  great  artist  humbly  giving  himself  this 
elementary  lesson  at  the  mature  age  of  forty-three." 

P.  G.  Hamerton:  Etchings  of  Remhrandt,  page  43. 

54  Beggar  Leaning  on  a  Stick.  (Bartsch  No.  162) 

On  paper  watermarked  with  the  Fleur  de  Lys.  A 
very  scarce  print. 

55  Beggars  by  a  Mound  of  Earth.  (Bartsch  No.  165) 

Before  the  contour  of  the  mound  was  made  regular. 
From  the  collection  of  Marsden  J.  Perry. 

56  Beggars  at  the  Door  of  a  House.  (Bartsch  No.  176) 

Dated  1648.  First  state  of  two,  on  paper  water- 
marked with  the  ''Head  of  Folly."  From  the  col- 
lections of  Claude  August  Mariette,  1697,  and  the 
unidentified  collector  Fagan  No.  197. 

57  The  Same. 

Another  impression,  also  in  the  first  state,  printed 
on  Japan  paper.  From  the  collections  of  Earl  of 
Aylesford,  Dr.  Strater  and  Jules  Gerbeau. 

58  Beggar  with  a  Wooden  Leg.  (Bartsch  No.  179) 

Assumed  date  1632  to  1640.  From  the  collection  of 
Marsden  J.  Perry,  also  a  duplicate  from  the  Cam- 
bridge University  Library. 

59  Woman  Preparing  to  Dress  After  Bathing. 

(Bartsch  No.  199) 

Dated  1658.  Duplicate  from  the  British  Museum, 
on  Japan  paper. 

60 .  "Woman  with  Her  Feet^in  the  Water.  (Bartsch  No.  200) 
Dated  1658.  Impression  on  Japan  paper,  from  the 
collection  of  Dr.  Strater. 

12 


SPECIAL  NOTE 
ON  THE  LANDSCAPE  ETCHINGS 


"  In  landscape  etching,  Rembrandt  holds  a  pecu- 
liar position  in  relation  to  his  time.  ...  He 
painted  beautiful  landscapes  but  they  were  less 
true  to  nature  than  those  of  many  of  his  contem- 
poraries. We  can  see  in  the  works  of  the  best 
painters  of  his  time  the  foundations  upon  which 
the  modern  French  school  built,  but  we  cannot  see 
this  in  Rembrandt.  When,  however,  we  turn  to 
etching,  the  case  is  entirely  different.  Here  Rem- 
brandt stands  out  as  an  inexplicable  phenomenon 
of  his  time.  He  had  no  predecessors,  he  had  no 
contemporaries,  and  he  had  no  successors  until 
the  nineteenth  century  brought  forth  its  great 
men.  He  stands  there  in  the  seventeenth  century 
a  unique  figure,  and  no  one  can  say  from  whence 
came  his  art.  He  does  not  show  a  mere  tendency 
toward  nineteenth  century  landscape.  He  is  as 
modern  as  the  men  of  the  nineteenth  century 
themselves ;  and  while  he  has  had  his  equals  in 
two  or  three  of  them,  he  remains  to-day  an  unsur- 
passed 'modern  among  the  moderns.'" 

Atherton  Curtis. 


"After  1641,  however,  Rembrandt  threw  himself 
into  etching  with  renewed  energy,  and  at  once 
found  in  landscape  a  new  milieu,  in  which  he  won 
the  most  glorious  triumphs  of  his  art.  To  the  ten 
years  from  1641  to  1651  belong  almost  all  the 
twenty-eight  landscape  etchings  which  can  with 
certainty  be  ascribed  to  Rembrandt.  They  are 
pictures  of  his  native  surroundings,  broad  plains 
with  a  fine  feeling  of  space  and  open  air.  Some 
cottages  or  a  group  of  trees  give  a  note  of  interest 
in  the  foreground,  but  from  this  the  eye  is  drawn 
to  the  distant  landscape  wrapped  in  the  soft  sea- 
mists  of  the  lowlands  of  Holland.  So  complete  is 
his  command  of  the  etcher's  craft,  so  delicate  his 
perception  of  tone,  so  convincing  the  surety  of  his 
perspective,  that  we  forget  that  we  have  only  black 
and  white  before  our  eyes ;  the  prints  seem  to  ex- 
13 


press  everything  that  a  finished  painting  in  color 
could  supply." — LiPPMANN,  Engraving  and  Etch- 
ing, page  171. 

Sir  Seymour  Haden  ingeniously  points  out  that 
nearly  all  of  Rembrandt's  landscapes  were  etched 
during  the  sad  and  solitary  years  immediately  after 
the  master  had  lost  his  beloved  first  wife,  Saskia. 

61  A  View  of  OmvaL  (Bartsch  No.  209) 

This  should  really  be  considered  as  the  first  state, 
as  there  is  only  a  unique  trial  proof  which  is  earlier. 
This  impression  shows  very  clearly  the  tone  obtained 
by  the  use  of  sulphur  in  the  background.  From 
the  collections  of  Philip  Henry  Lankrink,  page  to 
King  Charles  I  of  England,  S.  Bechberger,  1799, 
and  Henri  le  Sec  des  Tournelles. 

62  The  Sportsman,  (Bartsch  No.  211) 

Assumed  date  1650.  From  the  William  Roller  and 
Alfred  Hubert  collections.  This  is  one  of  the  finest 
impressions  in  existence,  as  the  distant  landscape  is 
almost  always  unsatisfactory  in  printing,  so  that 
the  print,  as  usually  seen,  entirely  lacks  unity  and 
atmosphere. 

63  The  Three  Trees.  (Bartsch  No.  212) 

Dated  1613.  Only  state.  From  the  Von  Lanna 
collection. 

"Ce  paysage  est  un  des  plus  beaux  et  des  plus  finis  que  Rem 
brandt  ait  fait;  il  est  d'un  effet  tres  brilliant  et  grave  avec 
beaucoup  de  gout."  A.  Bartsch. 

"We  have  still  to  consider  the  Three  Trees  which,  by  general 
consent,  is  regarded  as  Rembrandt's  masterpiece  in  land- 
scape. It  is  less  modern  than  some  of  its  companions,  but 
taking  into  account  its  importance,  its  gi-and  dramatic  effect 
and  its  extraordinarily  true  rendering  of  nature  in  foreground 
and  distance,  it  well  deserves  its  reputation  as  one  of  the 
greatest  etchings  that  the  world  has  ever  seen." 

Atherton  Curtis. 

Kindly  lent  for  the  exhibition. 

61  The  Three  Cottages.  (Bartsch  No.  217) 

Dated  1650.  From  the  Arozerena  and  Perry  col- 
lections. 

65  The  Same. 

Another  impression  equally  fine,  from  the  collection 
of  Sir  John  Day. 

66  Landscape  with  a  Man  Sketching.      (Bartsch  No.  219) 

Assumed  date  1618. 

14 


67  Landscape  with  a  Ruined  Tower  and  a  Clear  Foreground. 

(Bartsch  No.  223) 
Assumed  date  1 645.  From  the  Kahlmann  collection . 
A  considerable  amount  of  tone  has  been  left  on  the 
plate  emphasizing  the  dark  and  stormy  effect  of  the 
landscape.  This  is  undoubtedly  one  of  the  finest 
impressions  in  existence. 

"  The  print,  which,  for  well  considered  breadth  and  maintained 
unity  of  effect  (not  so  much  for  dainty  finish)  is  the  'last 
word '  of  landscape  art,  the  perfect  splendid  phrase  which  noth- 
ing can  appropriately  follow,  after  which  there  is  of  necessity 
declension — if  not  collapse." 

Frederick  Wedmore :  Fine  Prints,  page  54. 

08  The  Same. 

Another  impression,  with  less  tone  left  on  the  plate. 
Duplicate  from  the  Amsterdam  Museum. 
"  Ce  qui  est  certain,  c'est  que  le  Paysage  d  la  tour  est  un  des 
plus  beaux  de  I'oeuvre."  Charles  Blanc. 

69  Landscape  with  a  Flock  of  Sheep.       (Bartsch  No.  224) 

Dated  1636.  On  paper  watermarked  with  the  ' '  Head 
of  Folly."  This  is  considered  by  Mr.  Atherton 
Curtis  to  be  the  most  beautiful  of  Rembrandt's 
landscapes. 

70  Landscape  with  a  Haybarn.  (Bartsch  No.  225) 

Dated  1641. 

71  The  Same. 

Another  impression,  finer  than  the  preceding,  from 
the  collection  of  Alfred  Hubert. 

72  Landscape  with  a  Mill— Sail  Seen  Above  a  Cottage. 

(Bartsch  No.  226) 
Dated  1641.    From  the  Danby  Seymour  collection. 

73  Landscape  with  an  Obelisk.  (Bartsch  No.  227) 

Assumed  date  1632.  Impression  full  of  burr  and 
with  the  tone,  obtained  by  the  use  of  sulphur,  very 
visible  in  the  sky.  From  the  collection  of  Prince 
Soutzo. 

74  The  Same. 

Another  impression,  on  paper  watermarked  with 
the  ''Head  of  Folly." 

75  Canal  with  Swans.  (Bartsch  No.  235) 

Dated  1650. 

"Several  of  the  master's  exquisite  etchings  of  landscape  are 
dated  1650  .  .  .  the  little  print,  so  charming  in  its  sim- 
plicity, of  the  Canal  with  the  Swans.'' 

Knackfuss :   Rembrandt,  page  116. 

15 


76  The  Same. 

Another  impression,  warmer  in  tone  than  the  pre- 
ceding. From  the  collections  of  John  Webster  and 
another  collector  not  known  to  Fagan. 

77  Man  with  a  Crucifix  and  Chain.         (Bartsch  No.  261) 

The  second  state  of  four.  Duplicate  from  the  Brit- 
ish Museum. 

78  An  Old  Man  with  a  Large  "White  Beard  and  a  Fur  Cap. 

(Bartsch  No.  262) 

Assumed  date  1632.  From  the  collection  of  Mars- 
den  J.  Perry. 

79  The  Same. 

Another  impression,  from  the  collection  of  Alfred 
Hubert. 

80  Antonides  van  den  Linden.  (Bartsch  No.  264) 

On  Japan  paper,  from  the  Artaria  collection.  The 
impression  lacks  part  of  the  blank  margin  at  the 
bottom. 

81  Old  Man  with  a  Divided  Fur  Cap.      (Bartsch  No.  265) 

Dated  1640.  First  state  of  three,  before  the  slipped 
stroke  near  the  left  eye  of  the  sitter.  From  the  col- 
lection of  Neville  Goldsmid. 

82  The  Same. 

With  the  slipped  stroke  above  mentioned. 

83  A  Young  Man  Reflecting.  (Bartsch  No.  268) 

Dated  1637. 

"If  one  were  forced  to  pick  out  Rembrandt's  masterpiece  in 
etched  portraiture,  one  might  almost  be  tempted  to  select  The 
Young  Man  Rejecting.  For  subtlety  of  expression  and  for 
beauty  and  simplicity  of  drawing,  this  portrait  is  absolutely 
perfect."  Atherton  Curtis. 

84  The  Same. 

Another  impression,  from  the  collections  of  de  Fes- 
titits,  Dreux,  and  Alfred  Hubert. 

85  Doctor  Faustus.  (Bartsch  No.  270) 

Assumed  date  1647-1650.  Second  state  of  four. 
The  finest  and  richest  impressions  of  this  print  are 
rarely  in  the  first  state.  Occasionally  one  sees  a 
really  fine  proof  of  the  first  state,  but,  as  a  rule,  it 
is  in  the  second  state  that  the  best  proofs  occur. 
Duplicate  from  the  British  Museum. 

.   .  but  Rembrandt's  preference  now  was  for  penetrating 
into  the  world  of  the  marvelous.   We  might  say  that  the  mvs- 
16 


terious  source  of  light  itself  in  Rembrandt's  works  reveals  itself 
to  us  like  the  apparition  of  a  phantom,  when  we  look  at  the  in- 
comparable etching  of  Doctor  Faustus.'" 

Knackfuss :  Rembrandt,  pages  107-108. 

86  Clement  de  Jonghe.  (Bartsch  No.  272) 

Dated  1651.  The  second  state  of  six,  before  the 
plate  was  arched  at  the  top  but  with  the  additional 
hatchings  below  the  top  of  the  chair  back.  From 
the  collection  of  Alfred  Hubert. 

"As  to  the  portrait  of  Clement  de  Jonghe  which  Rembrandt 
etched,  one  has  no  need  to  remark  how  fortunate  is  the  arrange- 
ment or  how  beautiful  the  effect,  how  imposing  the  pensive 
expression  of  this  personage  whom  one  would  so  little  suspect 
of  being  a  merchant  occupied  with  the  prosaic  details  of  his 
business  and  to  whom  Rembrandt— who  always  idealized  na- 
ture according  to  his  own  ideas— has  been  able  to  give,  as  in 
the  case  of  the  Young  Haaring,  an  air  of  revery  so  profound, 
and  the  austere  melancholy  of  a  philosopher  in  meditation." 

Charles  Blanc. 

"Nothing  in  all  the  great  etched  work  of  Rembrandt  is  in 
craftsmanship  more  unobtrusively  magnificent,  and  in  its  sug- 
gestion of  complex  character  nothing  is  more  subtle." 

Frederick  Wedmore:  Fine  Prints,  page  62. 

87  The  Same. 

The  third  state  of  six,  from  the  collections  of  J.  C. 
B.  Hebich  and  Baron  Von  Lanna. 

"The  admirable  portrait  of  Clement  de  Jonghe,  who  was 
one  of  the  most  famous  printsellers  and  publishers  of  his  day, 
and  who  looks  at  us  with  so  decided  and  calm  an  expression  in 
his  clever  eyes."  Knackfuss  :    Rembrandt,  page  118. 

88  Abraham  France.  (Bartsch  No.  273) 

This  plate  was  carried  through  many  states.  The 
present  impression  is  in  the  first  state,  where  the 
sitter  is  represented  with  black  hair.  It  is  before 
the  slipped  stroke  in  the  cheek,  before  the  landscape 
seen  through  the  window  was  darkly  shaded  and 
before  much  additional  work  throughout  the  plate. 
On  Japan  paper,  from  the  collection  of  Pierre 
Mariette,  1670,  also  duplicate  from  the  British 
Museum. 

89  Old  Haaring.  (Bartsch  No.  274) 

Assumed  date  1655. 

"There  is  the  finest  possible  expression  of  the  face  in  this 
portrait,  the  composition  and  execution  of  which  are  in  a  most 
masterly  style.    It  is  very  scarce."  T.  Wilson. 

Kindly  lent  for  the  exhibition. 

90  Jan  Sylvius.  (Bartsch  No.  280) 

Dated  1646.    This  has  always  been  considered  one 
of  Kembrandt's  greatest  portraits.    From  the  col- 
17 


lection  of  Mary  Jane  Margan.  There  is  a  tear, 
which  has  been  skillfully  repaired,  on  the  margin  of 
the  lower  left-hand  corner. 

"Ce  portrait  est  un  des  plus  beaux  de  Rembrandt,  et  les  belles 
^preuves  en  sont  trfes  rares."  A.  Bartsch. 

91  The  Smaller  Coppenol.  (Bartsch  No.  282) 

From  the  collections  of  Franz  Recherger,  Count  de 
Fries  and  Alfred  Hubert.  An  inscription  has  been 
carefully  lettered  in  ink  in  the  lower  margin. 

92  The  Same. 

Another  impression,  duplicate  from  the  British 
Museum. 

93  A  Young  Man  in  a  Mezetin  Cap.       (Bartsch  No.  289) 

Assumed  date  1635. 

94  Man  with  a  Broad  Hat  and  Ruff.       (Bartsch  No.  311) 

Dated  1630.  From  the  collections  of  Herman  Weber 
and  Dr.  Strater. 

95  Old  Man  with  a  Rich  Velvet  Cap.      (Bartsch  No.  313) 

Dated  1637.  From  the  Kalle  and  Von  Lanna  col- 
lections. 


96  The  Great  Jewish  Bride. 

A  Portrait  of  Saskia. 
Assumed  date  1634. 


(Bartsch  No.  340) 


97  Saskia  with  a  Headdress  of  Pearls.       (Bartsch  No.  347) 

Dated  1634. 

98  Rembrandt's  Mother.  (Bartsch  No.  352) 

Dated  1628.  "  The  face  was  lightly  bitten  with  acid 
and  the  hood  put  in  more  strongly  in  drypoint. 
Hence  the  difference  in  tone."  Wilson. 

99  Rembrandt's  Mother.— Lightly  Etched. 

(Bartsch  No.  354) 
Dated  1628.    From  the  J.  D.  Bohm  collection. 

"  Although  this  little  print  was  one  of  the  first  which  Rem- 
brandt executed,  it  is  perhaps  the  most  perfect  which  came 
from  his  hand.  At  no  epoch  of  his  life  was  the  great  painters 
needle  more  delicate  or  more  sure ;  never  was  beauty  of  senti- 
ment or  happiness  of  execution  carried  further." 

Charles  Blanc. 

"This  exquisite  little  bust,  so  expressive  and  life-like,  so 
cleverly  and  at  the  same  time  so  lovingly  drawn,  is  a  perfect 
masterpiece,  unsurpassable  in  execution  as  well  as  in  idea." 

Knackf uss :  Rembrandt,  page  6. 


18 


